The atmosphere was quiet and peaceful as I entered The Barron and sat down to watch Caryl Churchill's A Number. Two lonely figures were illuminated in blue. Sitting frozen. Together but undeniably separate. What would unfold over the next 50 minutes was a dystopian story of cloning, identity, deceit and memory.
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| ID: Ezequiel Vigo Fernández sitting opposite Elliott Reed. |
Organised by StAAT (St Andrews Art Theatre) and directed by Aidan Monks, this short and powerful performance will capture you completely and not let go until the lights go out for the final time. From the opening discussion of identity and a perplexed and perplexing father-son dynamic, to a concluding interrogation on happiness and uniqueness, the show’s limited cast and simple staging makes way for a dynamic exploration into the construction of self-hood.
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| ID: Elliott Reed looking at Ezequiel Vigo Fernández. |
Churchill’s script was brought to life perfectly by Elliott Reed and Ezequiel Vigo Fernández. The actors approached their performances with nuance, confident and incredibly compelling in their roles. Reed’s performance of B1, B2 and Michael Black was spectacular to watch. He effortlessly switched between roles and conveyed their unique personalities through his use of space, speech, mannerisms and stage presence. Equally brilliant to watch, Fernández brought Salter - the father figure of the play - to life by excellently portraying the character’s conflicted and multi-faceted personality. Confused, grieving, angry, distressed, calculated, and cold, both actors showed off their skills in distinctly conveying a turbulent mix of emotions and events on a compact stage and within a tight narrative framework.
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| ID: Ezequiel Vigo Fernández sitting hunched over. |
The staging and lighting complemented the script and supported the actors’ performances. Set in the round, with audience members on all sides, the almost empty stage made space for father and son who navigated the stage almost like a dance, manoeuvring between three chairs and a table very naturally. With scenes separated by music, such as Jelee Cruise’s ‘Floating’, and visually distinct with blue, red and white lighting, each scene became an echo of the past as lies and parallels layered on each other throughout the play’s progression.
Emotionally intense, and entirely enjoyable, A Number is definitely worth watching. Eerily relevant to today’s discussions of identity, personhood and reproductive ethics, this performance really plays with how a restrained and staggered reveal of truth can keep you on the edge of your seat.
By Mariya (they/them)
